A Quote by Amira Hass
I am a very conservative journalist and prefer to write about what happened, and not what will happen.
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Seriously, I am not a person that I think much about what happened or what didn't happen or what could happen. I happy about the things that happened to me. I'm a lucky person, for sure, for all the things that happened to me during my life.
As a rule, I am very skeptical of tying books to anniversaries. I don't think readers care. I also feel that it just about guarantees that somebody else will be writing a book on the same subject, but being a former journalist, I'm always interested in, like, why write about something today? Why do it now?
I got a damn good mind to write a book about all the feelings that I have inside about all these things that happened in our life that we're making happen and letting it happen when it shouldn't be happening.
The thing that seemed to me so important about the psychedelic experience was that it happened to me. I wasn't reading John Chrysostom or Meister Eckhart. And so I assumed that I am a very ordinary person, therefore, if it happened to me it could happen to anyone.
I don't like labels necessarily because a label doesn't mean very much. But when it comes to being conservative, I happen to be conservative.
I think of futurists as people who have a particular attitude about the future. They're advocates for a certain kind of outcome. As a forecaster I am something very different. I am a professional bystander. I have opinions about the future, of course. But my whole posture is to be detached and to identify what I think will happen and not allow my judgments of what should happen to get involved.
One criticism that I hear occassionally is that I am actually not a real liberal, and I am secretly a conservative. Or sometimes they will say I am the only thing worse than a conservative - a dreaded 'right-winger.'
I prayed very hard for this to happen and it happened. I don't even think about what I've achieved, I haven't focused on it and I wish I had, because I really want to enjoy it, and I don't know if I am enjoying it, because I am going through my life like a bulldozer. I still haven't marveled at it.
I'm not a liberal or conservative journalist, I'm saying conservative-owned media corporations seem to be treated differently.
I've been meaning to write about the Rolling Stones, but I am the furthest thing from a hipster rock journalist.
You want to know about a certain period and what happened?-You go into this building and all of a sudden you are transported! You're not just shown pictures, not even 3-D pictures, not even movies, but suddenly you are transported live by a time machine to that very time, that very age and you see it happen, you watch it happen, you hear it happen, you feel it happen! Think of it! Not only the movies but the 'feelies'! You are there!
I would stay [in the newsroom] until 3 am "in case something happened." But I mostly had nothing to do between 1 and 3 am so I used that time to write. And I chose to write about food and wine. Along the way I carved out a role for myself.
Most argument, and in fact most conflict, has nothing to do with the present. It's always about the past or the future. People can't agree on the details of what has happened or is going to happen. But we rarely know what has happened, and we never know what is going to happen. What is really at dispute is how we will deal with not knowing.
The plot is very important because writers have to play fair with their readers, but no one would care about the plot if the character work wasn't there. So, basically every book I work on starts with me thinking not just about the bad thing that's going to happen, but how that bad thing is going to ripple through the community, the family of the victim, and the lives of the investigators. I am keenly aware when I'm working that the crimes I am writing about have happened to real people. I take that very seriously.
I'm an artist and a journalist. I travel around the world very often for 'Vice Magazine,' and I draw and I write about prisons, about conflict zones.
A lot of college graduates approach me about becoming screenwriters. I tell them, 'Do not become a screenwriter, become a journalist,' because journalists go into worlds that are not their own. Kids who go to Hollywood write coming-of-age stories for their first scripts, about what happened to them when they were sixteen. Then they write the summer camp script. At the age of twenty-three they haven't produced anything, and that's the end of the career.
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